Coruscate

“Coruscate”

Flowers, beauty and colours

Published for broncolor GenNEXT blog in october, “Coruscate” is a beauty inspired editorial where I wanted to create something bold and colorful. Over at the GenNEXT broncolor blog you can find my entire workflow to recreate this look by yourself in the studio! I shot this look with my lady My Fragility featuring a septum by Staskauskas - an amazing designer of wearable art I had the pleasure of discovering (and realising it was the same amazing designer she talked about earlier that had some epic jewelry wanted to shoot, win-win!). This was part of an afternoon of experimenting, with this one being one of my favorite set-ups! There is something incredibly fun and refreshing about discovering a new light set-up that is so unpredictable as this one. It does gives it challenges but at the same time I can see a lot of future opportunities.

Gear

Shot with a Canon 5D Mark III with a 100mm 2.4

Lights used are by broncolor: siros 800 with an octabox, Move 1200 with a MobiLED and a beautydish and a picolight with fresnel attachment.

Retouching

All work has been processed in Capture One Pro for the base colour toning, light and shadow adjustments - as well as cropping.- After this I exported it to Photoshop for further adjustements like colours, skin cleanup, dodge & burn and minor further adjustements in brightness and contrast.

lighting-diagram-1570783139.png

Cimmerian

“Cimmerian”

A little touch of darkness for the Halloween month


It’s one of my favorite months now with Halloween and so, there is no better time to try my hands on something more editorial, inspired with a little touch of darkness. My beautiful friend Spooky was able to come to me and brough a range of gorgeous styling, that we finished off with a few extra pieces from my wardrobe. This was such a fun project to work on and I’m really stoked to share the results with all of you!

Similar to my last blog, I am always looking to find new ways to use my light within a small space and most of all: how can I use light in a different way and create something that feels like my aesthetic and visual trademark. For this I thought a long time and I realised that often my main focus is to lighten the face from the front – a habit I have developed and most often got booked for. But it made me wonder what would happen if we would work with the absence of light – without turning the image too contemporary painterly and dark.

While researching I realised I didn’t want any harsh shadows and keep a smooth transition between the darker and lighter parts, so I opted to work with two softboxes: one being the 30x120cm and the other the 60x100cm – both mounted on MobiLEDS and a Move 1200. This would also allow me greater control over the strength of each individual light and alter as I went to fit my vision, which was crucially important.

I positioned both lights directly on her sides, with the smallest being on the left as I like to position my models facing from left to right (similar as to we read). The other I positioned on the right, as to have a slight stronger fill in light both on the backdrop and on her, to counteract the darker part as I wanted to keep an editorial feel.

When I had my lights places on her sides, I took my Siros 800 with the octabox and positioned it on the left aiming directly at the opposite wall with my reflector, bouncing in just enough light to fill in her face for a more flattering effect without being overpowering.

With the dark grey backdrop, processed in Capture One Pro to be more of a green as a complimentary color for Spooky’s beautiful red hair. I gave some texture to the backdrop by using Pro Edu their texture packs as usual, to just give that plain paper a little finishing touch.

SpookyWitch08.jpg

Light Diagram

Modifiers: 60x100cm softbox
30x120cm softbox
100cm octabox

Lamps: broncolor Siros 800
broncolor move 1200 + 2 MobiLEDS

Extra: 2m reflector
Colorama “Dark Grey” backdrop

Gear & Programs

Shot on a Canon 5D Mark III with a 50mm 1.4
Edited in Capture One Pro & Adobe Photoshop

Light Diagram - October1.jpg

Chroma

Chroma

About white backdrops, pastel colors and channeling colorful aliens - yet again.

If you want to create shots with the same light-setup and see a full breakdown, I recommend heading over to “GenNEXT broncolor: Chroma” blog !
This blog is here to tell some backstories and show the full set of images!


This is something I wanted to do for a very long time but never got around too again: challenging myself to do something new with colorgels. On a white backdrop. Because it’s my least favorite thing to ever work with as I find it so freaking difficult to light it all pretty and nice - mostly because I do feel the limitations of having a small, bedroom converted studio (for now). But challenges are there to be tackled and I guess there was no better timing then now: Agnieszka Osipa was so kind to send me a whole bunch of outfits to play around with, including these gorgeous “armor gauntlets” as I will call them for now and a blue with gold kokoshnik inspired piece.

For this set I knew I needed a model who could do all the things with “hands” so I asked My Fragility to come channel her inner alien yet again (like in “Starstruck”) and we got to work. With a simple dress from my own wardrobe we completed both looks as I wanted something elegant and simple - mostly because I wanted to have the focus on the pieces and without too many distractions.

I ended up with some really awesome sets, shot in a small studio space with colorgels - creating a pastel painterly set of images. I’m actually pleased with how this turned out and I do like a white backdrop just a little bit more now.


Credits

Models - My Fragility
Hand armor & Kokoshnik - Agnieszka Osipa
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Gear

Canon 5D Mark III
Canon 50mm 1.4 & Canon 24-70mm 4.0
broncolor Siros 800 l + Octabox 150cm
broncolor move 1200 + softbox 60x100 & 30x120

Retouching

Overall colour toning and post-processing happened in
Capture One Pro. Cleaning & final toning happened in Photoshop.

Some before & after with the behind the scenes. I noticed that with the blue set, the blue was hard to control but it was there - instead of blowing it out, I decided to work and simply saturate the blue in post-processing as it was a quick and easy solution. Same was for the other set. Everything was edited in about 15 minutes each once I got the toning done, both in Capture One as Photoshop.

Starstruck

“Starstruck”

A collaboration between corset designer Valkyrie Corsets & goldsmith Eero Hintsanen

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- Want to read all about this alien-beauty-from-outer-space?
Find the blog here at the
GenNEXT blog and read all about the technical aspects, the light diagram, how I quick & easily got this “show” look and more! -

*****

I had been following Valkyrie Corsets her work for a while now and when we got in touch on Insagram, the place where all the cool people hang out still online, I was stoked to hear she wanted to send me one of her gorgeous designs and above that, a make a made-to-measure corset for my petite model My Fragility. Cue the awesomness and cue the hype! Especially when my dear Eline Deblauwe wanted to join us to make something bold, colorfull and alien come to life. I knew I wanted to do something alien. That’s basically what me and My Fragility always go for, so no surprise there. I’m really happy that Valkyrie Corsets trusted me with this and of course, that Eero as usual just let me go wild with his pieces. Obviously, more to come. One cannot shoot this piece a single time. But for now, I hope you like this take on some “alien showgirl from outer space making y’all starstruck” . Over & out.


Credits

Models - My Fragility
Hair & Makeup - Eline Deblauwe
Corsets - Valkyrie Corsets
Jewelry - Eero Hintsanen
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Gear

Canon 5D Mark III
Canon 50mm 1.4 & Canon 24-70mm 4.0
broncolor Siros 800 l + Octabox 150cm
broncolor move 1200 + mobiLED with a P45 modifier

Retouching

Overall colour toning and post-processing happened in
Capture One Pro. Cleaning & final toning happened in Photoshop.

Here is a picture heavy behind the scenes of the amazing transformation she went through to make this look come to life!


The Witching Hour

“The Witching Hour”

Shooting at a 12th Century Abbey & it’s gardens

What happens if you live an hour from a 12th century abbey? You shoot there. A lot. It’s one of my all-time favorite locations and I actually got more sets planned, yet again.

But first: let me give you some history! The abbey of Villers-la-Ville: it’s an open air museum/monument of an abbey that started being build in the 12th century and was completed 100 years later. It has a rich history and I highly recommend visiting it if you ever have the chance.

On a previous shoot when I had some time over I decided to take photos of the surroundings in the abbey itself to see if there were any other angles I could work at. For a while already I had another idea I thought I could combine so I wanted to have something visual to refer to when working on the concepts in advance.

Fast forward to a few weeks back and I got in touch with Fine Art Backdrops, who created some gorgeous hand painted backdrops. I ended up getting two amazing sets sponsored (and becoming one of their ambassadors!) and I knew this was the moment to set things in motion:

I’m mostly a studio photographer but as artist and professional I always want to keep challenging myself to try out new things – one of those is a concept that intrigued me for a few years now, which is using backdrops on location and shooting with the scenery around it. And there was no better spot to try this out than at the abbey.

I reached out to some of my favorite people to ask if I could borrow styling and both Church Of Sanctus send me almost their entire new “Poseideia” collection and Eero Hintsanen was so kind to send me three of his designs, including his retired longer-then-life-spine necklace. After posting in my model’s group, I got a ton of response and I set out with one of those badass teams to create magic.

But as one do … rookie mistakes happen still: I realised I didn’t check if there where any concerts planned for a longer period of time, something that happens a lot in the summer season there and I found myself with a huge stage in the middle of the part of the abbey I wanted to shoot, blocking nearly every location I had. I quickly improvised and decided to shoot with my Canon 24-70 lens so I could capture as much as possible from the surroundings and go to the gardens after, which where in full bloom and gave an amazing scenery.

Originally, this blog was intended to be to showcase the entire collection with these awesome models and designers involved – but when processing the files, I realised that a specific set stood out. After long consideration, trying out various ways to process it and finally realising I couldn’t combine them – I decided to pick the one set that stood out. Jasmijn – who goes by the model name My Fragility – and I have been working for 10 years together and there is always this chemistry between us where I just let her do her thing and I capture what happens. It’s awesome and this was no exception.

JasmijnGarden1.jpg

Credits

Model - My Fragility
Styling - Church Of Sanctus
Jewelry - Eero Hintsanen
Backdrop - Fine Art Backdrops
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Gear

Canon 5D Mark III
Canon 50mm 1.4 & Canon 24-70mm 4.0
broncolor Siros 800 l
broncolor Softbox 60x100

Retouching

Overall colour toning and post-processing happened in
Capture One Pro. Cleaning & final toning happened in Photoshop.


Since I had only very limited time to shoot these, I couldn’t do everything I wanted as the sun was at it’s highest and was peaking through the “windows” . I wanted to capture as much of the backlight and sunbeams as possible so I had to work quickly. For this I used my trusted Siros 800 with a single softbox (60cm x 100cm) to bring in the fill light for both the set in the abbey as outside in the garden. Everything is shot in HS so I could keep the aperture as low as possible so I would get a soft, hazed background so my model would stand out and I would capture as much of the light as possible. The Siros is an absolute beast and I take it everywhere with me, even if I intend to shoot with natural light only. With this it was absolutely necessary as I wouldn’t be able to get a gorgeous light on her that still works beautifully with the natural light to not overpower it.

* Click images to enlarge *

When working in the garden, I switched to a canon 50mm 1.4 lens and kept my settings the same: shooting at an aperture of 1.4 to 2.2 to get this bokeh backdrop. To ensure my images wouldn’t overexpose and become flat – I used the same softbox and my Siros 800 on HS for the entire series of images so my images wouldn’t become flat or overexposed. It also helped a lot to keep a near consistent setting in camera as the natural light was constantly changing due to the storm coming closer.


Some of the locations I scouted earlier - and my original plan. I still hope to shoot this soon! In a week or two I’m back there and I will see what the possibilities are so I can come back shortly after for more of this awesomness. STOKED! Any reason to go there is a good reason as it seriously never gets old.

And some behind the scenes. I have a second set coming up featuring my awesome team & more of the gorgeous designs by both Church of Sanctus and Eero, but that’s for the next blog :)